With some exceptions, feminist scholars have written either about gender and globalizations or about transnational feminisms but rarely examined the relationship between them. In this essay, the author wants to reflect on this relationship to highlight how they have shaped each other. She suggests that feminisms are important force-shaping globalizations. At the same time, the relationship between them is fraught and in some instances has furthered inequalities among feminists. But this does not preclude other possibilities as is evident in the work of feminists around the world.
From the SWS President: The Messy Relationship between Feminisms and Globalizations
Manisha Desai
Gender and Society
Vol. 21, No. 6 (Dec., 2007), pp. 797-803
2007 I dug out my old stamp collection and remembered that it was not really mine, but someone else’s. It consists of a shoe box of loose stamps from around the world, cancelled and therefore of no value to the real collector. I kept it through the years though, somehow protected it and also began to imagine a correspondence, a fiction that spoke about travel using my own footage, writings and sounds. The piece is a continuation of the work that started with 13 buildings and features spare recounting of a monolouge left on an answering machine. OPENED relates to 13 buildings, but neither is the first in the series. The sounds gathered for this piece are of Spring rainstoms in Southern Illinois.
Jay Needham is an artist, radio producer and composer whose sound and visual works are often concerned with the politics of borders and acts of listening. Although he primarily centers his creative and critical practice on radio and the transmission arts, screenings of his video series on memory and architecture have appeared at festivals and conferences worldwide. 13 Buildings premiered at the 9th. Videomedeja in Serbia with additional screenings at the Sydney Opera House during d/art 2006. The series has been distributed by the Centre for Art and Technology, Finland on the DVD Flux Vol.1 and Vol. 2. The second installment titled OPENED screened at the VIBGYOR Film Festival in Kerala India and during the Simultan Video and New Media Art Festival in Timisoara, Romania.
His radio documentary Listening at the Border was a special presentation during Sonic Interventions at The University of Amsterdam in 2005. Broadcast on numerous NPR stations in the United States, the work traces several years in the life of an NSA sound spy. Additional programming events include Chicago’s Steppenwolf Theatre and during Radiotesla as a part of War, at Tesla im Podewils Palais, Berlin, Germany.
Other works include his micro radio work There and Back performed and aired as a part of Particle/Wave during Pixel Ache 2005 at The Kiasma Museum of Contemporary Art in Helsinki and the recently installed Tell Us Your Secrets during Waves, curated by RIXC and Armin Medosch at The Latvian National Museum of Art, Riga 2006.
A Slow Crash, his narrative work for radio, aired and streamed as a part of New Media Scotland’s Resonant Cities program and was released on Deep Wireless II in 2005 by New Adventures in Sound Art.
Jay is a frequent collaborator with The Association Panamericana para la Concervacion, a rainforest conservation NGO based in The Republic of Panama.
Writings and selections of his sound works will be published in 2007 in Hearing Places edited by Ros Bandt. Cambridge Scholars Press. (In press)
He is currently producing, researching and composing a radio feature on his family’s relation to the origins of the atomic bomb. A live FM performance of that work will premiere in Brussels in October during The Radiophonic Biennale. Needham holds an MFA from The School of Art at California Institute of the Arts. Jay teaches courses in Sonic Arts, in the Department of Radio–Television, College of Mass Communication and Media Arts at Southern Illinois University Carbondale.
What was the first piece of art that really mattered to you?
When I was a child, I lived in a Victorian house with a high-walled stone yard that never really got much light. I was standing in the yard one day, looking up at the sky, which was contained as a perfect blue square by the perimeter of the walls. Seconds later, a high altitude aircraft entered the blue square precisely at a corner and I watched it slowly make a diagonal white line to exactly the opposite corner and then it disappeared. It was the most beautiful thing I had ever seen.
After a long break from using this blog for research, i have come back to it but have moved on from knitting. Now I am looking at wallpaper, Glasgow, regeneration in Glasgow, regeneration in the Gorbals, art in the Gorbals, community work, community arts, demolitions, failure of high-rise flats, families being displaced to new homes, leaving the lived in cells of high-rise living... more to come.
First, i'm looking at Stina Wirfelt's films, some are Glasgow based, 'Shelter From The Storm' is especially poignant to my work at the moment.
American artist Vija Celmins makes paintings, drawings and prints. Using charcoal, graphite and erasers she produces delicate monochromatic images based on photographs of the sea, deserts, the night sky and other natural phenomena. Through her slow rigorous approach, the meticulous precision of her technique, and serial exploration of her subjects, Celmins seems to question the nature of representation.
Aurélien Froment
Memory, word games and puzzles; knots, conjuring tricks and cinemaMemory is an inexhaustible cultural goldmine. Sigmund Freud, W.G. Sebald, Barbra Streisand and Plato, amongst others, have offered words of wisdom about this elusive, intractable topic and its connections to knowledge, trauma, exile and love. Countless writers and artists use representations of memories – memoirs, souvenirs, photographs, memorials, albums, archives – as inspiration, material or form. By virtue of its omnipresence, memory is also as banal as it is universally resonant. So, to remark that French artist Aurélien Froment’s work traffics in memory is perhaps predictable. However, Froment approaches memory from the somewhat less conventional angle of its mechanics, which is both a refreshing and challenging aspect of his work. Memory runs through his cultivated maze of installations, photographs, videos, performances and publications like Ariadne’s red thread – which could also be a red herring, a diversion that provides a false sense of interpretative security in the midst of shifting associations, repetitions and slippages....rest of article - http://www.frieze.com/issue/article/aurelien_froment/
Violently displaced from its body, a car engine lies in a pool of leaked oil. In case it should suddenly leap into life again, a military official levels an automatic rifle at the inert lump. Presented as a group of framed inkjet prints, My Neck Is Thinner than a Hair: Engines (2000–3) is the first in a series of works in ‘Funny, How Thin the Line Is: Documents from The Atlas Group Archive’ that examine the spate of car bombs detonated in Lebanon between 1975 and 1991. A wall text informs us that the engine is ‘the only part that remains intact after a car bomb explodes’, and that ‘during the wars photojournalists competed to be the first to find and photograph the engines’.... http://www.frieze.com/issue/review/walid_raad_the_atlas_group/
Judith Baca
Judith (Judy) Baca (b. 1946), a Mexican-American artist and activist working primarily in Los Angeles, has dedicated her career to demonstrating the ways in which public art, created in partnership with community members, can be a force for social change. One of her first undertakings after college was a collaborative mural project aimed at tempering gang violence (1969). In 1976 she co-founded the Social and Public Art Resource Center (SPARC), which has been a source of inspiration, support, and sponsorship for projects that address the identities and concerns of underrepresented populations such as women, immigrants, and the economically disadvantaged. Because these murals and related public art installations are located in the neighborhoods in which the participants live, a strong sense of joint ownership accompanies the works’ creation.
Baca’s most celebrated work is The Great Wall of Los Angeles, a mural project begun in 1973 in the Tujunga Flood Control Channel of the San Fernando Valley. Completed over the course of five years, The Great Wall acts as a visual narrative of centuries of California history—especially of that history which has consistently been underrepresented in “official” documents and textbooks. It, and Baca’s mural projects in general, find their stylistic precedents in the works of the Mexican muralists and the W.P.A., yet the social activism and specific themes that they espouse are decidedly contemporary.
A narrator relates a variety of peculiar stories involving characters with the initials HC and their dealings with telephones. These are interspersed with artistic shots of telephone boxes in a variety of locations
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